Walter Benjamin: Overpowering ConformismPluto Press, 20 mei 2000 - 298 pagina's Esther Leslie’s path-breaking study of Walter Benjamin is unlike any other book presently available in English on Benjamin, in seeking to make a case for a more politicised reading of Benjamin’s oeuvre. In looking at the entirety of Benjamin’s work - rather than the four or five essays available in English which tend to form the Benjamin ‘canon’ - Leslie offers powerful new insights into a key twentieth-century political thinker, correcting the post-structuralist bias that has characterised so much Benjamin scholarship, and repositioning Benjamin’s work in its historical and political context. In her examination of Benjamin’s commentary on the politics and aesthetics of technology - from Benjamin’s work on nineteenth-century industrial culture to his analyses of the Nazi deployment of the bomber - Esther Leslie recontextualises Benjamin’s writings in a lucid and cogently argued new study. |
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Pagina 67
... film , the most modern representational form . Film appears perfectly capable of re - presenting the city , of producing films that are set in cities and providing accurate portraits of lives in those cities . There exists a special ...
... film , the most modern representational form . Film appears perfectly capable of re - presenting the city , of producing films that are set in cities and providing accurate portraits of lives in those cities . There exists a special ...
Pagina 139
... film is projected . Film , especially sound film , at its moment of shooting , its moment of production , offers a perspective that has never before been conceivable . In the theatre , Benjamin contends , it is possible to conceive that ...
... film is projected . Film , especially sound film , at its moment of shooting , its moment of production , offers a perspective that has never before been conceivable . In the theatre , Benjamin contends , it is possible to conceive that ...
Pagina 142
... film also tests the limits , pushing back and exploding scientific and natural laws in a utopian gesture , proving that while film is bound up with representing the actual , it does not entirely relinquish the traditional artistic ...
... film also tests the limits , pushing back and exploding scientific and natural laws in a utopian gesture , proving that while film is bound up with representing the actual , it does not entirely relinquish the traditional artistic ...
Inhoudsopgave
Benjamins Objectives | 42 |
Berlin Chthonic Photos and Trains and Films and Cars | 63 |
Technik and Mirroring | 89 |
Copyright | |
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actual Adorno aesthetic alienation apparatus appears artistic Artwork essay aura Autor als Produzent avant-garde become Begriff der Geschichte Benjamin notes Benjamin writes Berliner Chronik bourgeois bourgeoisie Brecht capitalist Charles Baudelaire collective commodity commodity fetishism communist concept consciousness critical critique cultural Das Kapital deutschen Faschismus dialectical economic Einbahnstraße eternal return experience fascism fetishism film flâneur forces Frankfurt/Main G.S.III Georg Lukács Gershom Scholem Geschichte der Photographie human idea ideology Illuminations industrial insists intellectual Karl Marx Kleine Geschichte Konvolut Kunstwerk im Zeitalter labour literary London Lukács Marx Marx's Marxist mass material materialist modern montage nature Nazi notion objects optical organization Pariser Passagen Passagenwerk pre-1935 past perception political potential progress proletariat reality reflection relations of production relationship representation reproduction revolution revolutionary sagenwerk Scholem second Technik Siegfried Kracauer Soviet Union Street Suhrkamp Sürrealismus surrealist techniques Theorien des deutschen things Traumstadt Trotsky Walter Benjamin Zeitalter seiner technischen